Category Archives: DC Promo

And with Carta Jugada, Los Cenzontles have given us a good way to do that.

Joining up with Los Texmaniacs and Flaco Jimenez, Los Cenzontles (a nahuatl word for mockingbird) have given us an amazing album of standards backed up by some amazing accordion, bajo sexto, guitar, tough bass lines and drums. Simple and to the point.

But it’s the voices of Fabiola Trujillo and Lucina Rodriguez that power this album from start to finish. Starting with the old vals Que Sacrificio and bolero Libro Abierto, backed up by Flaco Jimenez, one gets a good feeling about where this album is going. Throw in another Flaco backed ranchera in the classic Hermosimo Lucero and the title track vals and one knows this is a special album.

While Flaco Jimenez is the foremost ambassador of the accordion, one cannot but place Texmaniac Josh Baca close to the top of that list of premier squeezebox players. And his abilities are evident in my favorite tune on the album, La Traicionera, along with the dexterous bajo playing of his Tio Max Baca.

If one is looking for a huapango, one will find it on this album. Lucina and Eugene Rodriguez provide the vocals on Los Juiles, which includes some amazing rhythms and bajo/guitar playing. The corrido, Nomas Las Mujeres Quedan, is a tune about dueling ranch dynasties and about the women who are left. Finally, the closing tune is another favorite sung by Fabiola and Lucina, the beautiful bolero Una Pagina Mas, about a woman ready to leave the past to move forward in love and life.

The album is up at the different online sites. Get your copy now from Amazon or their Online Store.

About Los Cenzontles

Los Cenzontles is a band, a nonprofit organization, a music academy, a community space for youth and families, and a hub for Latino artists – all working together to amplify our Mexican roots here in the Bay Area and beyond.

We produce original music, videos, and educational tools. We teach classes to hundreds of local youth in traditional Mexican music, dance, and arts and crafts. We host many popular community events throughout the year.

Locally, we are a second home for many families and we are a long-standing leader in the Mexican roots revival here in the United States.

Released just in time for their arrival to Texas, La Santa Cecilia’s Amar y Vivir can only be described in a word: Special. It’s a visual album, with already a few videos of their album performances on YouTube.

It’s traditional, it’s modern, and it’s full of love and life. The LA band’s newest production was recorded live in Mexico City at various plazas and locations around the city. With invited guests, such as Comisario Pantera, Noel Schajris, Mariachi America, Rebel Cats, Caña Dulce Caña Brava, Mon Laferte, and the amazing voice of Eugenia León to sweeten the various tunes, we are given a musical effort that will remain timeless.

Equally timeless is the voice of La Marisoul (Marisol Hernandez) who seems to knock every tune out of the park. While the guest artists provide some beautiful accompaniment, La Marisoul provides the emotional push to ensure a strong delivery of the songs.

The title track, Amar y Vivir, a haunting bolero thanks to some exceptional electric guitar playing, opens the album, while the amazing vals, Odiame, follows, both tunes solidifying the requinto as central to the album. LSC resurrects an old favorite of theirs with a mariachi-powered version of Como Dios Manda. Mar y Cielo is a sweet bolero, while the rockin’ ranchera Mexico Americano is a needed prideful addition.

La Santa Cecilia also managed to send me into a bawling frenzy during this Mother’s Day weekend with a beautiful rendition of Amor Eterno. Needless to say, I really miss Flo.

Volver a Los 17 is a beautiful tune, while Mon Laferte joins in on a wonderful vals, Ingrata. Then, we’re provided quite the treat with Smokey Robinson’s You Really Got A Hold On Me, which La Marisoul simply owns.

Leña de Pirul is an old standard brought to life again, while Nuestro Juramento is a a beautiful bolero that will get your toes tapping along with lyrics to make us shudder. But it’s the last track, En El Ultimo Trago, which La Marisoul duets with Eugenia Leon, that will get a concert crowd to sing-along.

No doubt, it’s the voice of La Marisoul and the requinto-playing of Pepe Carlos that set this album apart from others in which standards are attempted. With the simple instruments of guitars and requinto, percussion, and upright bass, a foundation is set for an album that treats the songs respectfully and without a need to be showy. La Santa Cecilia is a band of musicians who take their music seriously, and this genre-bending LA band can compete with the best of them.

The new production is available on CD and vinyl. Get yours today!

THE CONCERT at HEIGHTS

La Santa Cecilia came to Texas to perform in the Big 3– SA, Houston, and Dallas–and I was able to check out their show at the Heights Theater. It was the perfect venue for them and a great crowd greeted them on Saturday.

LSC started with their bilingual rendition of The Beatles’ Strawberry Fields Forever, to which they once released a video depicting the travels of the strawberries that end up in our fridges–starting from the fields worked by farm workers. A few LSC favorites into the show, the crowd was told that Hernandez was feeling under the weather, so, she wouldn’t be doing her usual dancing and jumping on the stage which in itself revs up the crowd.

Still, La Marisoul powered through Vengo, I Won’t Cry For You, Sucede and other favorites, only taking a short minute break toward the end of their set. Their show included some of their latest tunes from Amar y Vivir, including the show closer, Mexico Americano, which earned some “Power to the People” fists in the air.

As much as one loves their albums, you can tell how good a band is through their live performances and La Santa Cecilia is just one of those bands. La Marisoul proved that the show must go on and she delivered vocal perfection. Catch them next time they’re in town.

Opening for La Santa Cecilia was San Antonio genre-benders Nicolas Valdez y Los Nahuatlatos. They can go from SKA to conjunto to cumbia and return to all three and more in one set. Valdez was quite impressive on the acordeon as was the horn and rhythm section.

Early in April, we lost an amazing friend in Muriel Stubbs (obituary). For Harris County Democratic Party faithful, she was a committed volunteer who kept the office running smoothly on her day to manage it. She kept the volunteers busy and fed (usually Thomas BBQ or Hartz Fried Chicken). As far as Democratic conversations went, she was a source of history, but enjoyed seeking out others’ point of view just for the added discussion.

For me and my family, she was a wonderful friend, and a resource for all things having to do with literature and historical facts. She was a sweet friend to my mother, Flora, whom we lost over 15 months ago, too. Never had I seen two amazing women with very different upbringings get along so well and converse for hours on just about anything. Needless to say, after Mom left us, we still had a viejita to visit, have dinners and conversations with, and with whom to talk politics and life. And my family is better for it.

I’m thankful for Muriel being in our lives. I will miss her.

Muriel’s family and friends have scheduled a memorial service to be held Sunday, May 21, 2017. Much in Muriel’s style, it will be simple and casual. Although light snacks and cake will be served, the hall will provide a cash bar for beer, wine, and soft drinks.

I had never been to Whitewater on the Horseshoe Amphitheater located outside of New Braunfels. The park-like setting within huge trees and right by where the river forms a horseshoe was perfect for what seemed like a Catholic church jamaica (or bazaar for Houston folk) on steroids.

A few thousand of my closest friends braved 90 degree heat standing in line and awaiting the start of the concert only to catch the arrival of a “cool” blast that lowered temps to the mid-60s, while gusts made the night quite chilly. It was quite welcome by the fans and especially the bands.

The Mavericks headlined in explosive fashion, opening with their latest single Brand New Day, from their newest album of the same title. Playing hits from BND consecutively, the band was tight and on time on Easy As It Seems and Damned (If You Do) which revved up the crowd. Vocalist Raul Malo led the ba nd back to their previous album with Back In Your Arms Again and other hits.

Hit after hit, The Mavs took us through a career-long repertoire in only two hours, including Dance The Night Away, What A Crying Shame, among others. Raul Malo even took the role of pianist while he offered up a velvety Goodnight Waltz and a rockin’ Ride With Me, both tunes where we hear the best from the entire band. A welcome tune (for me) was one of Malo’s solo hits, Lucky One.

And, oh, The Mavericks band. Eddie and his guitaristics, Michael Guerra and his impeccable accordionistics, JD and his groovy keyboard riffs, Abrams and Diaz with their solid horns, the powerful drumming of Paul Deakin, and the bass lines of Ed Friedland are what keep The Mavericks at the top of their game. There have been plenty of varying line-ups of The Mavs and their Fantastic Four, but this one has to be among the best.

After what seemed to be the closing with As Long As There’s Loving Tonight at midnight, Malo returned with his Fender and gave us, in honor of Willie Nelson’s 84th birthday, Crazy. He continued with a favorite that his Cuban abuelo would sing, La Sitiera, with a powerful ending provided by the rest of the band. Then came the song we love, but don’t want to hear because it usually signifies the show’s ending: All You Ever Do Is Bring Me Down. The Mavericks blew us away throughout the night.

After four hours and three bands and a terrible electrical storm that could be seen in the distance, the fans had had their fill, if not enough. The Mavericks showed a lot of love for their fans and the fans, as always, returned it.

Los Lonely Boys performed prior to The Mavs and the three-man band was just as powerful as they’ve ever been. They took us through some of the best tunes from their latest album, Revelation. Give A Little More, Blame It On Love, and So Sensual were among the new tunes. They took us back to their debut album with Velvet Sky and Crazy Dream. Several solos and some Texican Blues later, they brought out Henry’s son on guitar to help with their gigantic hit, Heaven, which then became a family affair as JoJo and Ringo also brought out their families to sing along with the crowd.

The night’s opener didn’t fall behind in their musical abilities, as The Last Bandoleros gave us a short show filled with tunes from their EP, including I Don’t Want To Know and Where Do You Go. The band, which includes Emilio Navaira’s eldest sons (Diego and Emilio IV) rocked out and gave the overheated crowd some satisfaction before the cold winds arrived. Already having appeared on national TV and serving as show openers for Sting’s latest tour, The Last Bandoleros, including Derek James, Jerry Fuentes, and bad-ass accordionist Percy Cardona, are already going places.

Kudos to the folks at Whitewater for providing a great venue and some amazing sound.

Posted onApril 1, 2017|Comments Off on DC Reviews: The Mavericks ~ Brand New Day

It is indeed a brand new day when The Mavericks release new music. The run-up to the release of Brand New Day included the release a few tunes to appease the fan-base, while ensuring that they didn’t give away the store as to what was to come.

Brand New Day is exactly what fans (old and new) ordered, as The Mavericks created a 10-track production that speaks to different feelings and different situations. Described as genre-bending, the band achieves such distinction on this album, while staying true to the Rockabily-Latin-Country-Americana sound that has solidified them as one of the most popular live acts in the country.

Raul Malo is ever the voice-master on every track, providing a strong voice that can go from tenor to baritone without much effort. Such is evident on the show-starter, Rolling Along, a tune about tough lives being cured by something medicinal. “What’s gonna happen is still gonna happen the one thing that you can count on, don’t fix what ain’t broken while Willie’s still smokin’, we’ll just keep rolling along.” The acordeon, banjo and fiddle make this countrified rancherita one that can easily be sung to around a campfire.

Brand New Day, which has already been getting played on various online services, is quite the love song. Just what is being loved is left up to you. A significant other or a country to which you emigrated or were born in that is in distress (because of some cheeto-lookin’ character, maybe?), the powerful lyrics make it known that whatever it is, it is worth fighting for it. “It’s more than a game I don’t want to lose, there’ll never be another like you.” Powerful.

Following is Easy As It Seems, a rockin’ tune which has a similar feeling to the title track. With it’s descriptive lyrics, such as, “Take a look around you, it’s easy not to see, building walls between us doesn’t fix a thing, ignorance is blinding, they tell you that it’s bliss, they’ve been saying that for ages so will you answer this: Do you want to get mean? Do you want to get cruel? Do you think it’s wise to be made the fool?”

What is currently my favorite tune is I Think of You. It has the all the ingredients–amazing musical elements (organ, acordeon, guitar, horns) and Raul Malo’s impeccable vocals. “I see your face lying beside me, and then the trace of your kiss on my lips always reminds me: Walks on the blvd, two lovers arm in arm lost in each others’ charms I think of you.” Max Abrams sax-abilities are, as always, noticeable throughout. But as the song heads toward the finish, it is Malo’s uplifting vocal that just brings it home.

Goodnight Waltz brings musical memories of historic waltzes of the past, while offering an uplifting feeling of the kind of love that is to come. The background vocalists sweeten the delivery, along with a beautiful sax solo.

The Latin-tinged rock tune, Damned (If You Do) basically describes life, and even love. “Your heart tells you yes, your mind tells you no, you can’t seem to find, which way you want to go, the moment before you let yourself go, you’ll laugh just to think you’ll do it even though…you’re damned if you do, and damned if you don’t.”

I Will Be Yours is an Elvis-esque romantic tango with a horn-heavy background that will keep folks swaying. “If you surrender to love so tender, until forever, I will be yours.” Fortunately, it takes a Malo-type to deliver it. The mariachi-esque trumpets really give the tune the Latinoness it needed to make it quite special. Ride With Me is a bluesy traveling tune that takes you cross-country, while Malo once again proves his chops are unmatched.

The story behind I Wish YouWell is one that grabbed me having lost a loved one recently. Written by Malo for his father as he was drifting to his end, the song describes the only thing a son who has done everything for his father can say: “Now you lie before me like a star that fell, oh, I wish you well.” Yes, it’s a tear-jerker, especially if you have, or are about to, lose someone.

The Mavericks picked quite an anthemic end to the album with the country-heavy tune, For The Ages. An ode to long-lasting love, the tune is given some power with some choir-heavy background vocals.

The Mavericks brought out the usual elements to record these tunes live in the Studio, with the help of producer Niko Bolas. They added other instruments to sweeten the music and even give it that extra power to keep the listener wanting more. What is even more evident is the freedom to be creative which comes with releasing an album on their own Mono Mundo Recordings. Although their comeback albums also had that feeling, Brand New Day seems more relaxed and has a fun-filled groove to it.

Add it to your collection and do attend one or two of their shows. I’ll be in New Braunfels for the April 29 show (which includes Los Lonely Boys and The Last Bandoleros), and The Mavericks will be in Houston in early June at HOB Houston.

Proof Rooftop Bar and Blackhorse Limo offered up some free live music last night with Pasadena’s own, La Fiebre.

Well known and loved by fans since their heyday 90s, the band has not lost its touch. Musically styled after the rock bands we all grew up with, the style pushes through on their biggest Tejano hits through guitar riffs and tough bass lines coupled with horn and accordion playing that can blow one away.

Proof was the perfect location for a mellow crowd who loves Tejano music. And I would suggest to Proof that they start a Tejano music series. Some of us enjoy coming out to Midtown only to find out that it’s not “$9 beer night.”

Opening band, Grupo Vital, provided an excellent set of covers. Their set-ending rendition of Journey’s Don’t Stop Believin’ was something we all needed since we were all singing along.

Joe Posada, San Antonio’s Jazz and Tejano saxmaster, returns with a full-length production, Zapatos En La Mano, under his own Baby Dude Records. Posada continues to showcase his songwriting skills in this 10-tune album recorded at V-Music with production and arrangements by Grammy winning Gilbert Velasquez.

The lead-off single, Tres Opciones, is quite the tune with Posada’s sax and Castillo’s accordion playing off of each other. Joe effectively uses his vocal range to deliver this ranchera. Que Cosas Hizo Dios is a follow-up ranchera which delivers its message with some powerful phrases, like, “que chulada de mujer.” I must admit, I’ve been using that kind of lingo, lately. Odiame is a standard Joe Posada ranchera–sax-heavy and very danceable–with a message to a well-replaced ex.

Posada and Velasquez seem to enjoy chord progressions throughout the album, but they are really noticeable on Palabra De Hombre, a romantic ballad given extra power with some sax and guitar solos and fills. Daring to be different, Hermosura De Mujer gives listeners a bit of bossa nova which, along with Posada’s flute, proves his versatility. Posada throws in a sexy sax instrumental, Nunca Digas Nunca–great when in need of a romantic background.

Posada dares to be different, as always, and it is very noticeable with Zapatos En La Mano‘s jazzy opening toward a solid ranchera Tejana. The tune’s lyrics are written with a little barrio lingo, while proclaiming his rightful place with the subject, despite her late-night antics. Valga La Pena is bolstered by Velasquez’s guitar throughout the song, while the powerful lyrics tell it like it is: “Si voy a perder el orgullo sera por alguien que valga la pena.” Cafecito De Tus Ojos can easily become ones favorite tune, with its boot-stomping melody, fun lyrics sung by Joe and Joe, Jr., and its bajo sexto and accordion combos.

Zapatos En La Mano offers up a much needed Tejano music fix that needs to become part of the daily playlist. Posada offers up some cool tunes that will have you singing in the car and humming them at inopportune times. That’s when you know it’s good music.

I was lucky to catch Joe Posada’s Trio at the River Walk’s 507 Lounge and they’re there every weekend. But I’d sure like to catch the full band playing a couple of hard-core Tejano sets, particularly some of these new tunes. Joe Posada is one of the most respected saxophonists in the music industry and the fact that he continues to grace us with some amazing Tejano music shows his commitment to keeping La Onda strong and relevant.

It wasn’t a very productive year at DosCentavos.net. In fact, it’s been quite a bad year production-wise. Still, thanks to all my readers for keeping traffic steady despite a lack of content. We’ll still be around in 2017. We need to be.

Here are my Top 10 Posts of 2016 which earned good traffic from you all.